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Full text of "The harmonic minstrelsey"



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CONTJIMM\* 
A NEW COLLECTION OF SACRED MUSIC^IN THREE AND FOUR PARTS, 

Comprising Varied in Stile, Tune, Time and Measure ; and well proportioned to all the 
different metres and keys commonly used in churches — together, with a kumber os 

SET-PIECES, CHORUSES and AN TEEMS, 

Appropriate To Ordinations, Dedications, Thanksgivings, &c— Chief y Original. 

To which is prefixed— THE NECESSARY RULES FOR LEARNERS. 

The whole being calculated and dedgned for the Use of Schools and Public Worship. 



,, , £y, , WALTER. .JANES-,,,. , 



Musk hath magk pctvers, and poicfii' i/ulh'," 
To soothe the raging pasnions i?ito peace. 
At dulcet tones, and modulated strains, 'i'V 

Revenge assU?nes soft pity's placid mien., , , ,, „ , 



\" Tfle "lips' o/'slaiider are in silence seaPd, 

%y T/&> t eye collate tears of un;J union shed, 

il j'fie'jist'ning ear is char?n'd, the heart improved, 

\,,,And yvqvm^d^vQfitn fits the ravisiSa bout. 



DEB iiXfti:" " ' ' ' 
Printed Br H. Mann, and Sold, ( Wholctale and Fetail ) at his PcoksToRE, ^? 
and Br The various Hooksellehs in The United Ltate^ ■ — 1807". _^^'y^$ 



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District of Massachusetts, to wit » 
XXXXX to-, 

A* X JE>E it remembered, That on rh'« fevemh day of Augufi, in the thirty. fecond year of the Inde» 

Xseal. X pendence of the United States of America, WALTER JANES, of the faid DiAna; hath depofited 
QvVVy w *" Office, the Title of a Book) the Right whereof he claims as Author, in the words follow* 



The HARMONIC MINSTRELSET: Containing anew Collefiion of Sacred Mxisic—in three and four 
■parts, comprifing variety in fiile, tune y time and meafure • ; and -well proportioned to all the different metres and keys, 
commonly u fed in Churches — together, with a number of Set Pieces, Chorufes and Anthems, appropriate to Ordina- 
lions, Dedications, Thanksgivings, &c. — Chiefly Original. To which is prefixed — the neceffary Rules for Learners, 
Ihe whole being calculated '. and defignedfor th& Uje of Schools and public Worjhip, — %Walter Janes." 

Music hath magic povK'rs y . and potent spells, *; The lips of '.slander are,in silence seaCd,. 

To soothe the raging Jiassions mto peace) *' The eye of hale travs of compassion shed, 

At dulcet tones and modulated strains, tt 3%e listening .ear -is 'charmed, the Iwart improved) 

Revenge assumes soft pity 1 'a placid vii'eih *f «dnd warm devotion Jills the r&vish'd soul. . 

In conformity to the Act of Conor efs .&f r .*.fh.e; United -State §**•' emitted "A » A tT for the encouragement of 
learning, by fecuring the Copies of Map:S,:'C'haris 'and .Boc/kfe»- to ^he : Authors and Proprietors of fuch Copies, 
during the time* therein: mentioned ;*' and a-lfo • a^ ASt* •eaf.itled 9 .. u An Act Supplementary to -an A&, entiried,. 
an Act for the encouragement of Learnings by feewiln^ the : 66pies of Maps, Chat ts^ and Books, to the Authors 
and Proprietors of fuch Copies during thje , -times* : therein, mentioned •$:. and extending the bene&ts thereoJ to the 
am of Defigniog^ .Engraving, and Etch&V^iRoiiki/lnd; 'o^hir l*H-ats. M 

WILLIAM S. SHAW, 



EXCHANGE FROM 

MESSRS. C. F. LIBBIE & CO., 

JUr< 27 1904 G 



■Clerk.- -of the Djfiricl of MatfachufeiH* 



P R E F A C E* 



LM compiling the following work, the Editor's object has been, to furnish the Public with a cheap Book, expressly calculated 
Tor the use of Schools and public Worship : and for that purpose he has paid attention to several particulars, which he thinks have 
been too much neglected heretofore, in publications of this kind. 

In selecting the Tunes which are here designed for common Church Music, he has endeavoured to take such as will conform to the 
general accent of the Poetry ; and such, as will apply to any words in the like metre, with the same ease, as they will to the words to 
which they are particularly set. And in general, he has chosen shQrt and easy Tunes that will require no great skill,„nor much time 
and exertion to be learned. 



In the Stile of the Music, he has aimed at the modern taste, and to that, which he supposes to comport with the Idea of Worship j 
tyod the general tenor of the Psalms and Hymns, which are made use of for that purpose : — And for the convenience of Choristers, 
r Leaders, he has inserted all the Tunes of the same metre in a body by themselves, with a separate Index to each kind. Likewise, 
e has been very particular, to have Tunes suitably proportioned to all the variety of subjects, and metres in Dr. Watts', fieLknaJi's, 
nd Divigfii's Psalms and Hymns, omitting all such Tunes as are niot particularly calculated for public as well as private use. 



I 



He has likewise observed a due proportion in selecting appropriate Pieces for the following particular occasions, viz.— — Funerals, 
Fasts, Thanksgivings, Ordinations, Dedications, &cc— - — and in all cases has endeavoured to make it a useful Beck to the Public, as far 
as his judgment, abilities, and the most industrious exertions would admit. Yet in what degree it will prove to be useful, and how far 
he has accomplished his object in the above particulars, the Public will best determine. 

With diffidence, as it respects the Music of his 'own writing, the Compiler humbly submits the Work to public Inspection, fondly 
noping that if there is none that likes all the Music, all will like some of it ; and that no Purchaser will have occasion to say with. 
Dr. Franklin, that he u gave too dear for the Whistk*" 

W. JANES- 
' Oedhawc, {MastechutieWi) Avgmt y 1(3 Of*. 



3^a>oooc*x>cooc<x^ 

DICTIONARY 

OF MUSICAL TERMS. 



A. 



.DAGIO, the 2d. degree in time, slow; 
Affettuoso, affectionately. 
Agitato, agitated. 

Allegro, the fourth degree in time, brisk. 
Allegretto, not so quick as allegro. 
Andante, the third degree of time, Moderate. 
Andantino, quicker than andante. 
Caittabile, in a graceful and melodious stile. 
Ciicro Grando, grand chorus. 
Con Dolce, with sweetnes. 
Confuria, with boklnes. 
Crescendo, or Cres. iacreasing the sound. 
Da Cafio, or .D. C, close with the first strain. 
Diminuendo, or Dim. to diminish the sound. 
Divoto, solemnly. 
Duetto, two parts sung together. 
forte, For. or F. Loud. 
Fortissimo, or Fortis, loud as possible, 

Grave, slow and solemn. 

Grazioto, gracefully. 



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Largo, the slowest degree in time, very slow,. 

Larghetto, not so slow as largo. 

Lento, slow and soft. 

Languissant, in a languishing manner,. 

Maestoso, with majesty. 

Afrzza Tore, moderate strength of tone and in a pleasing manae| 

iWezza Forte, moderately Loud. < 

Mezza Piano, rather soft. 

Moderato, or Afoc?. moderately^ 

Piano Pia, or P. soft. 

Pianissimo, or Pianis, very soft. 

Presto, the Sth degree in time, quick. 

Prestissimo, vfcry quick. 

Pri?no i first or leading part. 

Secundo, second^ or accompanying part. 

SicilianUi slowly and. gracefully. 

5o/o, one part alone. 

Symphony, or Sym. a part for instruments, 

Vigoroso, with energy and vigor. 

Vivace ■, in a lively stile. 



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INTRODUCTION 

TO THE GROUNDS OF MUSIC, BY WAY OF QUESTION AND ANSWER. 

LESSON I. 

Q. W HAT is Music ? 

A. An Art, or Science, consisting of a succession of harmonizing sounds, variously arranged, in different Orders, Keys, Times, and 
Moods ; and is written by a variety of characters, some of which are called Notes. 
Q. What are the No-tes now used in Music .? 

A. The Seroibreve, E3 Minim, P Crotchet, W- Quaver, IE Semiquaver, W and Demisemiquaver, £ 



Q. What firofiortion of Time do these no-tts bear to each other ? 

A. One Semibreve is equal to 2 Minims, 4 Crotchets, 8 Quavers, 16 Semiquavers, or 32 Demisemiquavers. 

Q. What other characters are used in Musk ? 



A. The Staff, 



Ledger Line, 



Cliffs 



M 



r, =Jj or | 



Brace 



Rests, -aaJL-p-^-^.^, Single Bar, + Double Bar, 
Slur, s-*\ Mark of Distfncti6n, < Point of Addition, ? 



Fktt b Sharp, % Natural, iq Repeats, ^tz j( I* 

Figure of Diminution, 3 Choosing Notes, — 3z®~ Z ^°uble ending, or figures i a and Close, jjj or 4j- 

»>«.»B»<«i JJ— » J— « 



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T R O D U C T I "O- M* 



Q. Whai is the iisc of the jive lines an J 
their spaces, culled the Staff? 

A. They arc used to divide the different 
Intervals or tones in the Octave, and by 
them are determined the accuteness and 
gravity or all Notes in Music. 

QJVhat z's the use of theLedger line? 

A- .It is added when notes ascend or de- 
scend a line above, or below the staff, 

Q. What are the use of Cliffs? 

A. They are used to distinguish the 
parts from each other, via. Tenor from the 
.Bass, Counter from the Tenor, &c. 

"Q. Ham many Cliffs -ure used in music ? 
A. Three. 

Q. Hon are they ' distinguished from each 
Itther ? 

A. By the names of F Cliff, C Cliff and 

:G Cliff. 

Q. Which part is represented by the F 

Off? 

A- The I3a*s ; being placed on the 2nd line 
of the Staff from the top, gives it the nameF. 

£ What fuvrt is known- by the C Cliff? 

A. The Counted; being piaced ot the 
middle line of the staff, gives it the name C. 

O. V/ty&i* represented by the G Ctfff 

A. Bo[.i Fefioranti Treble ; being pla- 
ee<i gi the second fine of the staff from %hz 
bottsrci gives it the name Q-* 



Examples. 



iSi-:E!;?EEEE 




Q. What is the vse of Rests in mime"? 

A. They eupply the time in intervals and require a pause, pro 
povtionateto: their respective notes, which they substitute, and from 
which they derive their names. 

"ExA&IPLES. 

Semibreve. 'Minim. Crotchet. Quaver. Semiqua. Demisemiqua. 

Notes. ZZQZZ 
Rests. ■ 



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Note. 



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A Semibreve rest fills a bar in all. moods of time. 

Examples 
Q. What is the use of the Single Bar ? 
A. It is used to divide the Time into e- - 
qual parts, according to the Measure note. * - 

Q. What is the vse^ of the Double Bar ? 
A. It shews the end of a strain in the - 
Music ? of line in the Poetry. Z 



Q. What is the -use of the Brace inrmtsic? 
A. It connects such parts as are sung 
together. 



Q. 'What' {s the use of the Flat in 'Music? "~-*rr " — "~ — T"~3" 

A. When placed at the left hand cf ~I ffalZZlZ^m.' -Jl *J 




any note, sinks the sound of it ha; fa tens. 



wm pa 




* A measure note is that which fills a bar, and each bar con: 

notes er rests* equivalent; to- it through the time. 



I N- T R 0^ D ! V C T 1 O 






Q. What is the use <?/ the shttrji ? " 

A. When placed before a note, .raises - 
the sound of it half a tone, 

Q. What is the use of the Natural ? 
A. When placed at the left of any Note 
made flat or sharp,- restores it to its natural 
sound- 
Note 1, in the following work the Flat, 
Sharp and Natural, have influence only on 
the particular note, before which they are 
placed. 

Note 2; T'hey are often used to- trans- 
pose and restore the mi. See Lesson 4. 

Q. What is the use of the two repeats? 

A. One shows what part of the music is 
to be sung twice j the other denotes the 
repetition of words' r 

Q. What is the use of the S.'itr ? ' 
A. It includes such notes as are sung 
to one syllable; but when notes are con- 
nected otherwise, the. slur is not necessary, 

* Q What is thd ust ofVm Mark of Dis- 
tinction ? 

A. It implies a distinct and emphatical 
pronunciation. 

Q. What it the use of the Print cf Mdi- 
tivn ? 




Examples. 



i-ZZ'SfcZ'. 









— ^-(J»-| — | — p.- 




A'; Being placed atthe right of any note, 
adds to the time half its original length, i.e. 
a pointed sernibreve is equal to three minims, 
a pointed minim to three crotchets, he. 

Q.: What is the use of the Diminution 
Figure ? 

A. It reduces the time of three not-ts to 
two of the same kind.- 

Q,;: What is the use of Choosing Notes ? 
j A. They add variety to the music, as 
they may all be sung at the same time, by 
different voices. 

Q.' What is the uet of the Double En-ding, 
or Figures 1, 2,, ? 

A; They denote a repeat, and chow that 
the note or notes under figure, 1, are sung 
before repeating,. and those under figure 2, 
after, omitting those under figure 1 ; but if 
connected with a slur, they are both to be 
sung after repeating. 

Q. What is the use oj the Close & 

A. It shows- the end of the composition. 



Notf. 

TVi addition to the preceding, there are other Characters used 

in Music, such as Appogiaturts, 2-Jotes of Transition, Trill, &c— 

but believing the use of them to be well known by those who ure 

capable of doing justice to them} J have omitted thtm in the Iluk*. 



izfcittlt: 





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8 I N T R O D 

•LESSON II. 

Of the DIATONIC SCALE of MUSIC. 
Q. What is understood by the Diatonic Scale of Music ? 
It contains seven Notes, or Tones, five «f which are whole tones, 
the other, half tones ; distinguished by the first seven letters of the 
Alphabet ; and after arriving to the eigth letter, or Note, the same 
order is repeated. 

EXAMPLES. Treble Staff. 

G sol 22 



Bass 



8s- 



Stof. 
B mi 
■ A 
G 
-F 
E 
-D sol 




C 

-B 

A 



fa 
mi 

la 



— — - -G so 1 ------- f - - - - 1 

Mots. The above Scale comprehends three Octaves, and shows 
the natural order, and pitch of the several parts. 



U C T I O N. 

LESSON III. 
Of the KEYS in MUSIC. 

Q. What is a Key in Music ? 

A. It is the principal letter, or note, from which a piece of music 
is composed, containing the air oi the tune, it being the foundation of 
all the other parts, and is always found in the last note of the Bass. 

Q. How many Keys are there in Music ? 

A. There are but two natuml keys, viz. A, the minor, or flat 
key, having the Minor 3d, 6th and 7th above its key note ; and C, the 
Major er sharp key, having the major 3d, 6th ansl 7th, above the key 
note. Examples. 

Minor Key. Minor 3d. Minor 6th. Minor 7th. 





10 ssmi-tones. 




la. 3 semi-tones. 8 semi-tones. 
Major Key. Major 3d. fee. | 

] — g* J 'J-g-Q— ^-.| -|-g~Q-^7r:~— ~ 

fa. 4 semi-tones. 9 semi-tones. 1 1 semi-tones. 

Note 1. The Keys are often removed from A and C, by the in- 
fluence of flats and sharps,* yet they retain the same proportion of 
sound to each other when removed, as in the two natural keys. 

Note 2. To know whether a tune is a Flat, or a Sharp keyed 
tune, observe the last note in the Bass : if it be fa, it is a fiat, if fa, a 
sharp key. 

Note 3. These figures -| over the preceding Examples, are desigte 
ed to represent the natural half tones, which always come between 
Mi and Fa, and La and Fa. 

* For their various Examples see Lesson IV, 



I N T R O D 

LESSON IV. 

Of TRANSPOSITION and RESTORATION. 

^. What is understood by Transposition in music ? 

A. It is the rem«ving of the T.ii from its natural plate, by Flats 
«r Sharps ; thus producing systems for a greater variety of Airs, 
and yet keeping the Notes within the compass of the voice, according 
to the Key note. * 

Q. Houo is the Mi transposed ly Flats ? 

A. Every flat added to the staff, throughout the Parts, removes the 
m\ a fourth above, or a fifth below its former place, 

. Q. Honuis the mi removed by Sharps? 

A. Every sharp added to the Staff, in all the Parts, carries the Mi 
a fifth above, or fourth below its former place. 

Q. What is understood by Restoration in Music ? 
A. It is the restoring of the Mi, (having previously been trans- 
posed) by Naturals. 

Q. Moii) ia the Mi restored by Naturals ? 

A. By adding in all the Parts, as many Naturals, as there are 
Fiats, or Sharps upon the Staff ; where not so many Naturals are ad- 
ried as there are Flats or Sharps, they effect only those whereon they 
, the rest remain in full force. 



The Notes of the Octave, br Diatonic Scale are cxpress'd by the 
wing Monosyllables, Mi, Fa, Sol, La ; of which Mi is the pri.nci- 
and guides all the others bcth above and below, 



U G T I O N. 



9 



Q. On what letter in 
the Staff is Mi, when 
there is neither Flats, 
nor Sharps thereon'—? 
A. It is on B 

Q. If there be one 
Flat, where is Mi—? 
A. It is on E 

Q. If there be two 

Flats—? 

A. It is on A 

Q. If there be three 

Flats—? 

A. It is on D 

Q. If there be four 

Flats—? 

A, It is on G 

Q, If there be one 

sharp on the Staff 

where is Mi- — ? 

A. It is on F 

Q. If there be two 

Sharps — ? 

A. It is on \ C 

Q. If there be three 

Sharps—? 

A. It is on O 

Q. If there be four 

Sharps— 7? 

A. It is on D 



EXAMPLES. 
Mi Natural. Mi Natural. Mi Natural. 



Mi Tran. Res. Tram Res. 



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iriB2 : ?JlE3 



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10 



INTRODUCTION, 



LESSON V. 



Q 

A. 



rr '':'.rt is Time and Measure in Music ? 



Of TIME and 



Time, is the duration of sound that is given to the notes ; and 
is regulated by certain motions or beats with the hand.* Measure, is 
the dividing of Time, or the various notes in music, into equal parts 
by bars according to a measure note. 

Q. Hmo -many kinds of measure are there? 

A. Three, viz. : Common, Triple and Compound, which are di- 
vided into Nine different modes, four ol which are Common, Three of 
Triple and two of Compound. 

Q. How are these modes distinguished.from each other? Examples. 

A. By different characters. 

Q. What is the character of the fi/st mode of 
thmmm Time, and what is its Measure Note? 

A, It is like the letter C, having a semibreve 
fonts measure note containing four beats in a bar. 

Q. What is the character of the second mode of 
common timt, and what is its measure note, &c. ? 

A. It is like the letter C, with a bar down a- 
cross it, having a semibreve for its measure note* 
containing four beats in a bar. 

Q. What is the character, &c, of the third mode 
tf common time ? 

A. It is like C reversed, having a semibreve 
for its measure note, containing two beats m abar. 

Q. What is the character, &c. t>f the fourth made 
of common time ? 




A. It is the figures 2, 4, 
its measure note, 



having a minim for 



containing two beats in a bar. 






MEASURE. 

Q. What is the character, &c. of the first made 
of Triple time ? 

A. It is the figures 3, 2, having a pointed 
semibreve for its measure note, containing three 
beats in each bar, 

Q, What is the character, &c. of the second 
mode of Triple time ? 

A. It is the figures 3, 4, having a pointed min- 
im for its measure note, containing three beats in 
a bar. 

Q. What is the character, &c. of the third mode 
of Triple time ? 

A. It is the figures 3, 8, having a pointed 
crotchet for its measure note, containing three 
beats in abar. 

Q. What is the character of the first made of 
Compound time ? 

A. It is the figures 6, 4, having a pointed sem- 
ibreve for its measure note, containing two beats 
in a bar. 

Q. What is the Character of the second mode 
of Compound Time ? 

A. It is the fignres 6,8, having a pointed minim 
for its measure note,containing two beats in a bar. 



ExAT.fPit.BS. 








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Ifefiifc: 



* The methods of beating time are left with Teachers to direct. 



Note. To each beat in the first and third modes of Common and 
the 1st mode in Triple and Compound Measure, is required one sec- 
ond of Time. The 2d mode of each is performed a .little quicker. 
The 4th mode of Common, and the 3d of'Triple measure, quicker s'tiil. 
N. B. Each mode of time should be varied as Occasions may require : 



PRACTICAL LESSONS, 
LESSON I. 



2d Method. 



The Octave Ascending and Descending. 1st method 



The Octave by vising 3rl<5, and falling 2ds 



LESSON, n. 
Octave. Falling 3ds. and rising 2ds. 



Octave. 



i — i — 11.4. '- 



tE3i^S^^=t|pEEEE3=^feE 







LESSON III, 
Rising Intervals. Failing 3d. ris. int. fall. 4th. r.s. int. fall. 5th. ris. int. fall. 6th. ris. int. fall. 7th. ris. int. fall. 8c rif. Octave. 



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SEztSz^ 



Et=t±r^E3 



3- *<-« 



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Falling Intervals. Rising 3d. fall, int ris. 4th. fall. int. ris. 5th. fall. int. ris. 6th. fell, int. ris. 7th. fall. int. ris. 8c fall. Octave. 



§ 



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Lili§EiEmlll"^gil 




LESSON IV. 
B. fc^F. S<3s. Sd9. 4ihs. Sths. iSths. 7ths. Octaves. F. & R. 2ds. 3ds. 4th s. Sths. 6ths. 7ths. Octaves. 



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GENERAL REMARKS. 



►©©©©©©-©«©©©<=?— 



AFTER the Learner has obtained athocough knowledge of the 
preceding Rules and Lessons, perhaps the following Remarks may 
be of use, in aiding him in his first attempts to sing. 

In the first place, the singer should attend to the cultivation of his 
voice ; he should always modulate it to as smooth and pleasant a. tone 
as possible, avoiding "all violent motion," either with the handor body. 
His pronunciation should be clear and distinct, every way ''conforma- 
ble to the best rules of speaking." He should always endeavor, like 
the Orator, to vary his gestures, tones and expression, to the sense of 
the words, and to the occasion on which they are performed. In sing- 
ing cheerful, spirited words, on joyful occasions, he should assume a se- 
rene and placid countenance, and his "manner of pronouncing should 
be sprightly and animated :" But in performing solemn words, on 
sacred and mournful occasions, his pronunciation should be grave and 
pathetic, accompanied with a countenance, expressive of a thought- 
ful and serious frame of mind. 

The articles The and A, when they happen on the unaccented parts 
of the poetry, which is generally the case, should be sounded broad;, 
Jike a in lew ; but when they are found on the accented parts of the 
the poetry, a should be pronounced as it is spoken in the alphabet, and 

the, like the pronoun thee. 

Accent, or a smooth and agreeable swell, should constantly be ob- 
served in vocal music. In the modes of Common Measure, the swell 
should be placed on the 1st and 3d parts of the bar ; and in Com- 
pound Measure, on the 1st and 4th, except when there are semibreves, 
c.r pointed notes that contain two bar accents ; in which case, they 
<! should be struck soft, gently swelled to the centre, and diminished 



to the end ;" it being contrary to the principles- of pronunciation- fdir 
one syllable to receive more than, one accent. — In Triple Measure> 
some Authors have directed, that the accent should fall on the 1st ami 
2d. parts of the bar ; others, ©n the list and 3d, but I would ask the 
critical observer,, if it will-not as generally comply with the accent of 
the poetry, and sound more smooth and agreeable to the ear, to have 
but one accent or swell in a bar, and to have that on the 2d part of St, 
or to sound each bar similar to. the directions above for sounding semi- 
breves ; beginning with a moderate strength of voice, gradually in- 
creasing on the 1st beat, swell full, but smooth, on> the 2d, and dimin- 
ish to a soft, voice at the close of the bar. 

In fuging music, the part that leads should be sung very soft, but 
distinctly; gradually increasing as; the rest of the parts- fall. in j- and 
where there is a repetition of the same verse, or line, it should be sung 
soft the first time, and the next time a little louder, increasing at every 
re peat, unless there are musical teisms to- dinecfc otherwise* 

PARTICULAR RET4ARK& 

THE Lessens in the preceedingpasre, may be sungfrom the Minor- 
key by considering them as having 2 fiats, or 4' sharps placed at the 
beginning, and thus by an immagihary transposition of the mi and 
measure, may be formed a great variety of. different -lessons ; but irv 
changing the mi great care should be taken that the half tones be 
placed right, viz. between me end' fa, and fa and la. 

Inthefollowingworkno credit is given fos- words, they being select- 
ed chfciy from Dr. Watts, Belknap andDwVght's Psalms and Hymns, 

American Authors are designated? by Ronufl* letters, and European, 
fey Italics. 






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COMMON METRES. 

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Solemnity. 



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Hark ? from the tombs a doleful sound ; My ears, attend the cry— Ye living men, come, view the ground Where you must shortly lie. 



















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The tempest, fire and smoke, The tempest, fire and smoke, Net to the thrmler of that 






Not to the ttrrors 



of the Lord, 



The temp'-?l, fire and Pmoke, 



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The tempest, fire 



and smoke, 



'1 he tempest, fire and smoke j No 



word. Net to the thunder of that word, Which Which 



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Which 




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thunder of that word, the thunder of that word, Which God on Sinai spoke, Which God on Sinai spoke. 

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NoJ io the thun.de' — Which Which 

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O hsppy man, whose soul is fillM With zeal and rev'rend awe t His lips to God their honors yield, His life adorns the law. 
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Despair. 






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As on some ionelv building's top- The Spanow tells her moan, Far from the tents of joy, and hope, I si; and grieve alone, I sit and — 



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The joyful day is coining on, I shall arise and sing ; O grave, where is thy victory I O death, where is thy sting t O grave, &c. 



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cay, 



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lou 4 with fri<rht'ned eyes, To view 



the 



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clay, 



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To view the 



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Jesu:>, in thqe our eyes behold A 



thousand glories more Than the rich, gems and: 



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polish'd gold The sons of Aaron wore. They- first their own burnt ofF'rings bre't To purge themselves. from 



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"JfCtCfo* Continued. 



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Thy 



life 'was pure 'without 



spot, 



And all thy nature 



ciean. 



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7W Trebles. 



James. 



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siiisiiiifirisj^liii 

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As lofty mountains s.tood'to guard Fair "Salem's happy ground, So God's Almightv pow'r and love Enclose his Church around, Ewcloso- 

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Janes. 



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1 here is a land of pure delight, Where saints immortal reign ; Infinite day excludes the night, And pleasures banish pain. And pleasure 



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So to the Jews old Canaan stood, While Jordan roll'd, between. 



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Sweet Jklda beyond the swelling flood Stand drm'd m living green } 



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Our glad hosannas, 



Prinee of peace, Thy welcome shall proclaim : And heav'n's eternal 

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arches 



ring, And heav'n's eternal 



arches 



ring, With thv 



beloved 



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When verdnie clothes the fertile vale, And blossoms deck the spray, And fragrance breathes in ev'ry gale, 



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How sweet the -vernal day I How sweet — 





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Hark ! how the feather'd warblers sing ; Tis nature's cheerful voice : Soft 



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SXei'fial Si'Om. Continued!- 



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music haib the lovely spring* And; woods and fields rejoice, Soft music — 

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And p;»ss the solemn test. 



That awful day will surelv come. Th' appointed hour makes haste, 

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24 



Treble. Mar st quo. 



GE-tartatitm. 



Janes. 



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Now sha'J my head be lifted high Above inv foes around, 



And songs of joy and victory, And songs of jcy £c 



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Pia. Crescendo. for. With- 



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v\ clary, 



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Within 






temple sound. 



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Within thy temple soiji i, 



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Within thy lejjvp.Le sound. 

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Consolation. 






Scrcundo. 



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Janes. 25 






2T?.nor. "Why to we incur; 

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fit* 



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part 



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friends ? Or shake at death's alarms ? 



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voice which Jesus sefids To call thera to his arms, To 



call them 



to 



■ is arms. 



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Lord, trh it is lrur:, poor feeble man, Horn of the earth at first ? His life a shadow, light and vain, Still hast'iving to the dust. 

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God of my life, look gently down, Behold the pains I feel ; But I am dumb before thy throne, Nor dare dispute thy will. 






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■SS>t, •CDOmaSf. W. Billing. 27 



W. Billings. 



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Methinks I see my Saviour dear, On the accursed tree, Methinks I see his bleeding ivounds, Which he receiv'd for me. 



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AIR. 



— <9~0- - -I 



Soft. 



J. HUSBJND. 

Jjmd. 






My soul, how lovely is the place, To which thy God resorts ! 'Tis heav'n to see his smiling Face, Tho' in his earthly courts. T1.6 ii 






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Arise, ye saifils to worlds, above, 

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Burst thro' each sable cloud ; High in the realms of 

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Awake awake and join the choir, Where gabriel's trumpet sounds) Y£here 

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joy and love, Tune forth your songs aloud. 







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IDe&tttlftJC Continued. 

Pia. Pianis. 



For. 



29 



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seraphs strike the golden lyre And praise thro' heav'n resounds. 



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And praise- 



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Hi3 hoary frost, his fleecy snow, Descends and clothes the ground ; The liquid streams forbear to flow, In icy fetters bound. 



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Attt. 

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OTetmetfburg. jHakmonta <&chm. 



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O, if my soul were form'd for woe, How would I vent my sighs'! Repentance should like 'rivers flow, Fro»\ 



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both my streaming eyes- 'Twas for my sins my deaiest Lord fHung on the ^cursed tree, And 



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E^EiJ^EllESE§i33EEl^^EliS^ElEfcilEi 



- -4— 4- 



dtietm C#t tU*£? '. Continued! 



3 r 






grorn'd away a- dying 

*- — * — *>-^-! *< — rf-— — _— A-i-». i-_ 



life For thee, my' soul, for tliee. For' 



mzmm 



'E^^EirErfe'^EE^EE^iEiEJE^EiEgESE 






thte, my souli ■ for thee. 

liglilifi& 






ArR'. dndante. 



aeicgj. 



2t Williams. collI 



The promise was divinely free. Extensive was <he grace ; I will the God of AUrah'm be, And ofhis num'rous race. 






3 2 



Treble 



SlaS Ctts!ng0, 



Janes. 






/~~\ r*\ 



^^mwSm^^^mfiMS^w^^MwS: 



Tenor 



While shepherds watch their flocks by night, All seated cii the ground, The angel 



of the Lord came 



iziJzj^zffrS^^ 



Sg^-^r^rgl — E — d_]jg.pf_g__| — .fe-gy_E — .^-T^zg-^zTE e : ^:.r — E — :^_ x_ e — p = 






E=EES3=E:iEiE= 






;±z: 



-e — 



•V4 



40. 



L-oud i&ken repeated. 



izszrzzizrzsizzgzzzQxz^zJ Jzzzr- 1 ™ + 



f -p- ~i~^tpF r PTxL~C ~^ pt~Q"jT - f5 ^"iE~F~ -jri-' if ~~~f j 1 

down, And glory shone around. Fear not, said he, for mighty dread Had seiz'd their troubled minds ; Glad Tidings ef great joy I bripg 






Li:ziZpzfe:r^Z5=pJ^-;=5 



_.__pji._ft. _.©__._ __ . «,. 



-g^:§fzr|f^EQ:|r,jr 



'3q — liZZZ — IZZT Z Z ___IT— _ Li!_Il?] 

^^^T 1 I iZ JZT _Jj* — P-Ir I aT-LLT-D. ~X1 

:zgzlizz;izzz:ii:rp: 



r ' 1 fit 



<&a& Ct^tngSf Continued. 

Rep. Loud. 



33 



z: §r^!j^ 



To you and all 



mankind. 



Glad tidines— 



3532^^ 



-i^E~§EF 









Slfrgfnia, 



Brownson. 






©if 



totef-fciic: 



=H53fc 







Thy words the raging winds control, And rule the boiat'rous deep, Thoumak'st the sleeping- billows roll, The rolling bfllowa sleep, The 



/~\ y^ I ?• 




--j_^iuxpl2^ — xc:^^t;jzippp_tzj.-p^j rpp_zi-_L: j g 

zpP^rr — ~c — m Di — !ZTPi»~z:T — ~a"~!iii — ^ — 



S SiKAtefiqs^ftF 






-Pv-r --*-- 



~T* 






34 



31oi?. 



zSiilififi 



~z^:i:^ipz£rg::f zr € 



1 ^:|_rz:!:::^: j:t_p_p_Li:: :zgzzfep§.l^,^ :: P-F- Fzjz"' :: h ' : (~ : : ~r r --^- 
|BESz2^z£fcEdz=^ 



Joy to the world, the Lord is come, Let earth receive her king ; Let ev'ry heart prepare him rooin, And heav'n Sc nature sing. 

* :: £-^ : ^ :: © : t^ = P = P^;J:zEzH 



•o- 



zzrJEJz£z|rE 

i i__ .! 



i: 






f ^^^£= =-==3|zz«=|zz:iz:--£ ^=z^pmEf r^J^EI. 1 ^^^ J:fc^p£| : £gs£: 



"f£~*—»~T 



'~~EH££~?zi"ftz:i'i 

While fields and floods, reeks, hills and plains,. Repeat, &c. 



"■"■*■"" ""■""! *~*W.f ~ "f~ " J ' _ """ ' " " SB r - .... ««. _- *—■•.!»—„ 



H : ^zzzEt~tzlzrtz:&rz: : jEz(z -jzizEzzzzwz zz Ezjzzp :z[3zz:zi: izzzz^zrzzzi+E 

Joy, to the earth, the Saviour reigns, Let men their songs employ, Re- 

: ; i "zBizfzfzuzzcE '^^^^^E^!^^^^p^^^E^^^l~'E^E^^=E' : ^Ez^ 



I * ' JB ' JL ~~* M" 



it -#• 



While fields and floods, roc.is> bills and plains Repeat the sounding joy, Repeat — 



' J^^^gE^Ep^ 



'3[0£ "Goniinited. 



35 



Kk|^^ETEPrEFE 



: - EEEEjp^Ef =Sg: 



i-R H 

_ _v 

[ -rr-— -»»»-*— -I — ' — f ~ir — :r~r~"siT 



EEKEJEI 












t- 



k — t 



£ 



ijEEEjlJEEEE 



; 



f 



p at the 



iminding jr>V, While fields and fiord , rocks hills, "and pJavnS Repeat- 









etzPe: 
£ — 












: £-— fczfc 



£i 



ft- L ; ft — 



E — C~ 















.-,_**,--. 



a?/tnjoarfc. y. /v£r. 






illllllllll 

My Go-!, what endless pleasures dwell Above at thy right hand, The courts below, how amiable, Where ail thy graces stand. 

ife-ZTEE 



illlllliiillllllillJEllElilil 






3^ 









L. Collins. 



g<-i-« i — i — 



-ft- -.-J-J-XfiJ-A- 



iT\ 



Slow. 



:_x zizj; i^tip: i^f!b£i~Z2 



Co ::.:■. . 






ErEfe&fES 






t 



Is there ambition in rny heart I Search, gracious God, and see : Or, do I act a haughty part ? Lord I appeal to thee, Lord — 



^_®ipf:ip:±irpzp::ifc^ 

| ' £• _ _ , . / ^"'"' N _/_X —„— -i . — 1_ „0>~.Qp -pZ® / _ > ^?P ~f~~ — r — 

joiz^zxpiptlzzpifZpiezB 



\ 



:rzzi: 



A.. Bull. 



^_^i-« H : : — #.2.*.- " — s-i izpLzjx l.^x__ zzLi zfz_4-_, XzLdzdie_& :c_«T-,_ dznzE^_ibi?iPe-K— "e-+-- — -Hr§ 

§Ehfcz3fez!z]zpx§z;zi^iK^ 






^E^^^fe^^LXT^^^^S^Jfi 



Come holy Spirit, heav'nly Dove, With all thy quick'ning pow'rs, Kindle a flame of sacred love, In the3e cold hearts of ours. 



& v 



-& 



SF- 







"d 



-r- 






r^zizzzxzzzzzzxszqr:: 

< ^ « g TT a] ii.aX__ .—I X — — 1 !■•• 7» 

c; . _i2 JL— — — pX- — 3 LJL 



O 



z^E?±lz|feziter±Ezzz:^EJS^dzlS 






-e-H- 






-e H- -f-i-fit -~rfn- -if e "r 3 f " cF^i'-n— ¥A Z7Z : 1$ 



C S TZ'~~ 



A~&-a-l 



.^Ut. 



t*— *~e- 






*jgr v v v w^s f\ ' 






LONG METRE! 

jprecept. 



Janes, 



s 



: z_Ezztzxz^!E|.Z4Zpzez: iz^'iztziSz: ~Eza:zi:i:z3~ J:ff rF:; :; Ez _|izf ziiizereztaf if z J 



|_~~1=-Ze 

Air. Now in the heat of youthful bloocT, Remember youiv creator, 



God 



Behold the months come 



$E!=1ezE= 



C ...z__ j^„5.____iz_i_z-C-^ — z__|_tz:L_T ppx_p_^.|:.#_-.t_p_ j^_z„zrjZa _.j_._j_i_ _j_i__e_j. 

_I________2 _-__.__- _,p_Z_X_' a, CZT_p_y_I_p-,p.x.p_.p..I_,Q_.lj! 1^ __-_--__ __-,!_. _6 l 



^E_Efei 



_a — «.— i — £_z£x_£-_<- z!_i__^)-J— f=-._fs— s~ f_zrf____nzL.z!i-X- — -s-ix_-_-._l_._f-_.E___j_a_s.~ir ■ zLx 

_e__z_pL_j._tp__._pi J-j-f^j~zz£3zf^"Ezi~E~E"^ E"i"^ — Jr- 3:E~iz ^-r-4-2 __"__ 



ZZZ__^Z_KPZ3ZZZEZ 

_=zS:zbz|zZzjzgz[iz 



pi?zfz2Z-zfc_&ziz»zezI-|pzlzzct^ 
zzfcH^zxiSzix^ 

ha _t'ning on, When you shall say my joys are gone, 



When- 



_23£|?e__|- 

-LP-UZ_.X_Z__.J-. 



__-4.». 




:z@__b — z^rx_^-^.„_pz^_«__p:-pzc & :iz r ^zzr5zx:r^ — "pT- — s^-T-- — jZTZizisz^z^iziz 
pb|zf:+z±^^izE_t^ 

.-____«J-.___-U_-->~;_._..~~^~_~--4<-.~ ^__._f_._J.--| r .___.i B ,^_.J.__|_ __-.__»_, J. ..j _5_X_[ H_I — _-• 



3$ 



A idarfte. 



£>i1tan& 



Tla. 



Janes. 



/"~\ r~\ /"-*\ 



lEzipaEszeizpzpzJ 

Sweet is the -work my God my K-ing! To praise thy name, give thanks and sing; To shew thy love by morning light, And talk of 
A i a . 

s .o_o ,_ ■ p <lzr~~ i'-T-r i - - ^ 



&2zHH:ife 



_jCJt 



F* r= -rr---pFF 3 -T~P~1 : T 



:EiE3EiE^ 



£ 



zzzz^zzzrzzzE iztzt lizzbzzHZx 



~i- — It 



Ii^T =: §zzgzKr&^E~g^-Ti: = 3-Tp-zp : E~ir3--Tz-j — -fzlztjhTt 



Grave. 



r~\ s~\ 



■s~\ r~\ 



p- ~XHj.%&-&t-l J:_pzj— ftiff Jd?:Zff z*i_ zzjizzLAZptLpxjs^ JzL. -xppg^-J^iiLffizj — _px;zi 

zztzzz^zxiSzbMlbzziz^ 



v"-\ v~n y~N 



— i _.— ($-3, X 

- — » -| mF— Pr P 3" -f 

i-tEirEzBbEpi 

•=■—(— | — — 'f— f-~ — fe: taSKr" "*• 



-P-x_p 

all thy truths at night.! Sweet is the day of sacred rest ; No mortal cares shall seize my breast ; O may my heart in tune be 



'^EEEgEEi 5 ll E P- 



_ f~~~F~~! ~P~ T~r$~zsZI~~i 1 5Z~" "~"ZZ T "j~ ' T.T .C ! T 

Jzztztzt: :_p__g_teJ |^_p-.s_^' :_ r L_.__t H „ .Lt^i 



z£fzxxzz£z±dz^ 



xzzizilzpzfctizzpil 



ip^ZDzi pzp '• pi::zj:zizxzxtzpbipuzf pi pzEzrjr 






:pi 



, ■ -§- _ _ e -a._.pL_zii,. i _ T £> -pzpzp T pxp r^z^. __ T <zTz:_£T¥. 



n 



Pia. 



£DtIeaH0 Continued: 

Ores 



"~dZ\ xW.~F-~12-~.W- I *Z-»-a*-ZjX_.c - £ C_T&_lZtCZ[_tj-C 

found, Like David's harp of solemn sound, Like — - 



Cfie ©caman'ief ©ong. r. Wimmms* coll. $g 

Air. 



:q:« 









-I— 

3E 



-frit ' ' ■ /■> a t*^-*~ 



■P — 7^r — r*5 — i 



g— q ^_Z ,t ^=£^ ^TSTK 



Pz_p&fc3^ 

Would you' behold the works of God, Iiis wonders in (he 



£zzz£33zz£ 



±3x3 



•crrrczxez^zzri^-sjpjEpf: zcrzipziE jprfc" P- p £ 



# 



«?/?. 



Loud. 



z^nszit: 



- mmk (T 



.§. — 1_.±| — p: 



"ITS ' T \T~\~~1~) ZT&~i~^~C~P'I&~ "It* r~ — FXSaSIl ' — PlTl2~~71J~1~~ 

j*t£:x;^f4r:TaxD^ 



world abroad, Go with the mariners and truce The unknown regions of the seas. The unknown 






p9 — ^ ; ~~ i S~afd~ fL T~°';1 ** f~~ — """T-X'^:: 



h tdzziz-^i^zizzzlzzzzzzzizzl'zzzzzzzzt zzz:zzzzj:i^z^i\z^z^:zzzxlizfzizJ- 









u 



Sf-EjEJE—JE 



■w 



-0. 



0. 



zzrZXer^TripTpir^iz^rqi-rz-zzz pfpp q Pzez-zzzx-rpz: p —^zzxp: rxz-jz 
•jif-_ . «... i_xp_t:x__tLXL._ r p_ffrp • Ut^Ul— - — V~ f-—, — 1-| ; — J f__ jicii 



4-o 



Janes. 

Pia. 






-rxii-oJ: 









I 



ET^PESEfEjEtEiEpFE^IEHEfEtiif: 






Zr 



Who shall 



fulfil 



94-~Lz:p: 






:p-4-.pzzp_4_p- 



2_4-4 



l: I ~[: T | — ; "~p^r.'~~T~p " 1 Z 1 



~zzfz:p:p§-;|— .gzxzP: 






H- 



this botmdjess song ? The theme surmounts an Angcis 



-tongue 



Row L>v. r , 



±Zg 

how 









^^is^^^^i^g^g^^^l^^Eii^i^ 



I ■t~Z:_2-5_ h.__j... >.=. 



r 



?.:zzq: 



"zizziE"~ 






r 



^ttEEEE±EEE3 -q 



»* 









i^O' 






<s> — ft j-.-__* 



:zj-;jz:dzzzj 









p: 



-f- 



»■*.*»*- warf^'g jn - L«^cr^c 



uZ:EE3z.£zg: 
PzizLzztziizpz _zzpz:tz;„z 



:©zizF~irizz:e-©r:irirM 



~£zztz:c:riz§~~p'~r~3 — qZT~P'~~tg~~T~[ — p~""ppl y i'~r" : ~ : — *~T-fp — ®~T~pr~P~r — p — p- — t~~^"ts~ 



Yam are 



mortal 



airs, When Gabriel's nobler harp despairs ? When Gabriel's nobler harp despairs. 



zzSE3EEE^jzf~p~p~F^ 



-i — 



.p. 



— f ~p~ p"- [--' g~ 



EzEzzffi 



;p~ZZp_:j:zfc*ZIp?_XZ33 — "Qzizp — b~"i~ F — --i-§_- p_4-P — — i — X i—~4 £2—* Zf_ JZIJ Z'.£ZI 



.•3a-. 






:ztefc-3z$:J3r:}z: 



rupremacg. 



41 



-kzlMz±z§z^zzz^zrzfzH 



Janes. 



1 



Air. 

ez3xizzxi 









■r 



TrB==^Q==^i^z;rpi=^=arz=z 






:»: 






Thus saith the High and Lofty One* " I sit upoh 



mv 



t-JZ~ 









holy throne; My name is GOD, I 

-jt 






iitEiJ^;5Eil^fcirfei:i=£=eEy-z=iS=i-i£f- 



-jrpzaii— 



rEr|rtjrzfr«EEfzBlzz 



I 



_Z*-ffZT_-£ 3 -I — ZJZ5 

ZZuCZQZ- 1 -Z_z_a _ £ _^p_ 



dwell on high — Dwell in mine own e - ter - ni - ty. 



pEZXz^zzzzpgz^z^z^zzz^z^z^z-^^^f^zpp^^z^z~-^"rzi;z^zii7 



Dwell in mine own eternity. 



Si 



izzh.zz: :i _Za.zi^3zizEz£g:zt — 1 t-a-#— 2zi_2: — =. — Ez_z ^H 1 -^ — £ — J-P--5I — ziz-iz^ilszz: 

-zz^±-zzzz-z~i-^z^-lzz^z~^-±z^fc~ii~— ^~lzzzzEzzizEzztzzIzE~3-i~^-iz5-iJiEz; 



42 
Z5Z 



Caltmrp. 



JANE'S. 



^z^zazi^dzjilri 1 :=|£Ez|^=:F = ^; z:zz:|:^zEzz :^:^i^i^3z5^^rB=|^rE^=^=Jz|" 




,_pZT:zsz sir Hz &Z--%\ 

IzizzEzfezpzcidz 






E^a 



He dies, the heav'niy Lover dies I. Lo ! Salem's Daughters weep around ; A solemn darkness 



|j3F-5Sizfl3E& 



:x — 3_ r@^@ ---i-zj -*-»-- 

J, LJ — if— ._ „i ___i t L_ — V~ -1^ Lf ; — «— I — >. 

^■j. — » — ■»_._ „( ___a | — r_ T" — r 



3 

:? 

- 



Affettnoso. 



M i-v- 






P_:lz2-j:-a.zzjz:.^___ — irsz^^-siz^rbz^ — ^_^zf2p_|.*^^-zjiz|zzti'' 
|:zf:z::1:zzE:±nrEz^:i^^ 



^^[^^^MiE^^^BE^Ea^BgEg 



zpzszxCztr Z' zt iizzlizrzpipi ei 

veils the skies, A sudden trembling- shakes the ground. Come saints and drop a tear or two, Ear him who 



zz^~5z=:Lz:lzzt±tzfc^ 

zzz zz pzzz :zzr|xzp:.fzz]zz z: zf§z JzEzpz izzLzzqztz: Jizszf^fziZjZ^z^^ 

z± zz Ezzfe zfcz±:i ;lz z^-^~^zi_"^~E~~i~?- 5 3'bzzrlz-~ zirlb zrr~zrrrrr"Tni^^z-rf"^^^EnE 



43 



Calbfltfg Continued. 



zj= ztzzzRzzz^^-r-^ - ^ - -^-j^:^-P^— ^— ^-^-^-^^1 -^— l-^E^:^Z^—p — ,^ _ =^„_|?„ ^iz=4l_-p=rp4 ---4- jl 



groan'd beneath your load ; He shed a thousand drops for you, A thousand drops of richer blood. 

zz] =3-5-3 4z3z| zfzazjzzzi^^ 






^ 



^3^^^^^^^&=^^^^^^±^^^^i^^^^^^^^^^ 



; (BtaDes(-en&. 



C Williams' Coll. 

JLcud. 



Am. Soft- Lmd. 



£:g: 



Let the sev'nth angel sound on high, Let shouts be heard thro' all the sky I Kings of the earth with one accord, Give up your kingdoms 

to the Lord. Give up — 

zzz^E£:2'|^Exi^ 



:ttz=zEz±z=E±t:h:E:tfe:Ei?if 



-^ 




44 



dftrantfjam. 



A, Williams. 



at z rr-uC f!— ipzjfz — i — e e-^-t-Q — ^zcLxz^z 



9Zp-TZQzgzTZ?.zpzxz:pzz|z:jZDOjzzz:zpr^z^zT: 



::±zz:zpz±zzz£z-f-:dzz§z:iz^z J .fzrs: zzfz _zizp:z-Z 

Great was the clay, the joy was great, When the divine disciples 



■ 



:__z^_ H ziLZ7izztrz H _z; — z_xzz|z_; — rzxz z t e zpzxz§_zjz: 
^z^zzttS=£C^ZeZdzz§z|zdzgzzzjzf 



met ; While on their heads the 

f^ZZS*""" J ' 



p~§zzzcx: 



I 



F£ — ^--P-Ti — P~ 3 "T •^-iz^'f " P"zT^"*TpzgT~c~ n~"f ~9~ 



ElzpEizEzt z .ETz?zzl3zSEp=pzf3z^:Epri 






t'zzzzzz?:zz T ZDZTzf 



F; Qj j ,t X_(Z p[_pE_ X_ /- X_Zi_£L_ 



■ h~Zi "!**"_ .' r .T [ r~ I t ._ _ ~y , "i ^- : ' , ~'~' , "*t. r . fzt— _— I 



flame. What gifts, what miracles 



he gave 1 Aid poVr to give, 



"Tz e z:z?;z : Ezp 



Zli-S.-Et-p.Zr 



ij Spirit carqe, And sat like tongues of cloven 

ll - ?ziz"^zz-ZXzs :j:zzzz|zz£zxzEzz^-z::z_z^Zi;rzjzii~zJzz]z^zpZx 
EEfe3--zIS;i:£z^ 






r 

i 



T — 



p=|=^~t=|-^^-F-r T ***" 



w : iz 



Ete:^:: 



jzz^zz^zz^zzxzszxzpzzjgzzzjgzizp^ 



<3?rantjjfim Continued: 
SzllZOZ 



45 



t: 



and povv'r to save ; Furnish'd their tongues with wond'rous words, Instead of shields, and spears, and swerds. 



t — zr_P — E — s_i_© — zi-t~S—W—B—^-t — t-P — - — «■- . '—a - ®— JL t-g-ft— .^ 4- — it'i Z 



_p. — -^H-^-p—^—p^g— M 



— i— -==— p^iz^— ^zz^zizpz— |~|ElEfSi^ =z BS^S-^^~E3E£zEEzzzi r Q-3£^ 



— :p^c:pxrxLtzrti5z 



Cotinti), 



Z?. CUZUNS. 



— £_2.-g.i— ;lfl«.ii5.1 



:Er^:&lcf ztZZfzzEizpzi pz i:£-C-fzpit=pP=p: :E:pp£±pzpzpz :: ii:p=f :} fefcHH zb zz pzpz j C t if 
— 1_}_ j & cijz_'__c4* t_! — _p-±_t:_i — pZL_.3r_pz Jit—p-tpii — p^-Ltx.p_pj.pdz4^kpi--=~~ l -~tz;j PP t • : ^- 



Jusus we bless thy Father's name ; Thy God and ours are both the same ; What beav'nly blessings fv.ojrn his I hi oik 1 iow down to sinners 

th rough his Son 



3iS 



U^ttEfTJSf 



.._■ xtrr__Qi_rr3' >-v" « «. -. r r — r — — ~ --* — K— ic 



l »_ £5 . J.^xr.XK_p^i2&lX_H_-^i.-U-p-P-P-+K-j- -~J-p- -p- 






nil 



46 



Complaint 






Parmetfr. 






Spare us, O Lord, aloud we cry, Nor let our sun go down at noon ; 



rhy years arc one e- 



:FE±?— i r u~? = lz = r^^ 






,_x 



Thy years are one eternal day, And 



:*-=£—*»—■ rhr 



=RE 



t~cz£czp:" 



— 1 — izr — ft Eft — f* — ft — L 

years are one eternal day, And must thy children die so soon, 

.&:. — -n — r-^-P- 



Tzzc±cztztzz±zzzzcsizt±^ztzt^ciz±~^z^ 



-e~ 






:t; 



-h- 



f-Zf - ;: 



Thy years are one etefnal 






* 

day, Thy years are one eternal day, And must thy children die so soon. 



1 ', zzzzzz zzzzf±±^zi^z^ztz^iziz^zE 

§i ternal day, And must thy children die so soon. 



fzE^iq 



:rtiiZTp-:&pzp±p::p:t:ztpxi§--d-.l--o_33 



:e: 



must thy 




children 



LT.Z 

die so 



-^~— -4-F-^ir- 



EiiEfciEEli^iEliS^EEg^i 




•«(V* *-•»*- »— ^i— 1> p. +m JL» 



mm 



soon. 



mutating. HaXMONIA bACEA. 47" 

Am ' •' ' _E -I 

^z*:_z=pir:p::r::^ 



Sweet is the work, my God, my King-, 






_ — ^ — j — _-,__ ^ 



T» shew thy love by morning light, Sweet is the day of 

Fo praise thy name, give thanks and sing,- And talk of ail thy truth at night. 



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No mortal cares shall seize my breast : 



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Confidence. 



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My heart awakes to sing his praise 









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Mortals, can you refrain your tongue, When nature all around you sings? O for a shout from old Sc young, From humble swains,8c lofty kings ? 



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Svn-ct spirit, if thy airy sleep, Nor sees my tears, nor hears my sighs ; O, I will weepj in lux'ry weep, Tjll the last heart's drop fill mine eyes. 
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Baptare* 



Janes. 



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53 



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Awake each voice, Sc strike each string,And to the solemn organ sing. And — 



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Deep in our hearts let us record The deeper sorrows of our Lord, 



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rising billows roll To -overwhem" his ho!v soul. To 




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Your harps, ye trembling saints, Down fY©m the willows take ; Loud to the praise of Christ the Lord Bid every string- awake. 



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For Jesus-is your king. 



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city's sacred ground, So God and his almighty love Embrace his saints around. So God and his almighty love Embrace his saints around. 




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And must this body die, This mortal frame 'decay ? And must these active limbs of mine Lie mould'ring in the clay? 



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77 



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Welcome, sweet day of rest, That saw the Lord arise ; Welcome to this reviving breast, And these rejoicing eyes. 



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Roll round with the ye ir, Roll round with the yea?) 

And never stand still till our master appear. 

2. 
His adorable will Let us gladly fulfill, 
And our talents improve, And our talents improve* 
By the patience of hope, and the labor of love. 

3. 
This life is a dream, Our time, ;:sa stream, 
Glides swiftly away, Glides swiftly away, 
And the fugitive raoatent refuses to stay 



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4t. 

The. arrow is down, The moment is gone, 
The millennial year Rushes on to our view, 
And eternity's here, and eternity's here. 

5. 
0,that each in the clay, Of his coming may say, 
I have fought my way thro', I have fought my way thro'; 
I have finished the work thou didst give me to do. 

6. 
0,that each from the Lord, May receive the glad word, 
Well and faithfully done, Well and faithfully done, 
Enter into my joy, and tit down on ray throne. 



102 JDOJPOlOgp. 

Am, Repeat Soft. 1 



T. Williams' coll. 

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9 8 






To Father, Son, and Holy Ghost, One God, whom we adore; — Be glory as it was, is now, And shall be ever' 



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more, Be glory as it was, is now, Be glory as it was, is now, And shall be* evermore. 



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Be glory as -it Wa®j is now? And shall be 



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aiCCtfter* y'$ A'DoxoLoor. 



T. Williams' Coll: 



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Sing we to our God above, Praise eternal as his love ; Praise him, all ye heav'nly host, Father, Son, and Holy Ghost. 



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ERRATA. 

THE Pur chafer will pleafe to correcl the following Errata^ and any other apparent errors, which- may have been 

overlooked in examing the preceeding pages. 

P:age 8. IN the Example of the* Minor 6th. The notes on F and G, mould be placed on E and F. 
19. In the fixth bar of the Bafs of Protection, for a minim on D, infert a crotchtt on D, and 

another crotchet on G above, and connect them with a flun 
40. In the Bafs of Oxford, 2d ftaff, 5th bar, for a minim on E, infert a minim on C, and in 

the next bar of the fame ftaff, infert a Sharp on F, at the left of the minim on F. 
51. The Diminution figure in the fymphony to Celebration, mould be placed over the 4th quaver 

in the fame ban 



INDEX TO THE FIRST PAET. 



COMMON METRES. Major, 



£3* Tbofe Tunes with thefe ( * f ) marks are Original. 
Names. Page. Names. Page 



St. Thomas 



Page. Virginia 



k Names. 

Aezey .... 

Ashley - - - - 

*IJeatitude - - - - 

•Consolation - - - 
•*Elysium - - - - 

* Exaltation 24 *Calvary 

- - - - 32 Corinth - 
- - - - 34 Confidence 
rd .... 
Nev.-mark - - - - 



15 Wednesbury - - - 
SI LONG METRES. 

28 * Ararat - •- - - - 
-25 * Affection - - - - 
20 *Bm-lins!;ton - - - - 



... Tidings 
*Joy 



Persia - 

"Protection - - 
* Resurrection 
^Reception 
Sinai - - - 
^Submission 
St. Stephens - 
* Vernal Morn - 
\Tint;r - - - 



35 China - - - - 

36 ^Celebration - - 

18 Christmas Hymn 

19 Condolence - - 
16 Extollatioil 



Page. Names. 

27 Naples 

- 33 *Precept - - - - 
30 *Repentance - - - 

Major* Sorrow's Tear - ^ 

- 57 fSuppiication - - - 

- 59 SHORT METRES. 
42 Batnkfield - - - - 

- 45 jCuba 

48 Carey Street - - - 

49 fCompassion - - - 
• - 50 t'Devoiion - - - - 

56 f Harmony - - - - 
■ - 63 fHomer - - - - 
61 Mount Ephraim 



PA'jI-. 
METRES. 
Metres. 

... 81 

- - - 84- 

- - - 85 

- - - 83 

■ - - - 82 



:l Gravesend 43 Monvert' 



- - - 14 Grantham - ■ 

- - - 36 Kettering . - 

- - - 27 New Triumph 

- - - .22 ^Orleans - - 

- - - 29 ^Oxford - ■ 
— •*• — - Osnaburg 

COMMON METRES. Minor. *R. a pture 



*Alarra - - - 
^Despair - - 
*Respondency - 
|7'"anerai Hymn 
! ,-ebanon - - 
Pohnd - - - 
*Soleaitrifjr - - 



beam an 3 

* 



Song 



23 

15 ^Supremacy - - - - 

17 ^Symphony - - - - 

26 LONG METRES. 

26 Complaint --'-..- 
13 *Caiais ------ 



44 Peckham - - - - 

- 47 Pelham -----. 
54 Stafford - - - - - 

- 38 "Waltbara ---*•■ 

40 Zealand ------ 

52 SHORT METRES. 

- 39 fComplaint - - - 

41 Content - - - - - 

- 55 Leoni . - - - - - 

Little Marlborough - 
Minor. Maryland - - - - 

- 46 Tribulation <■ - - - 
64 Zell - 



Names. 

- 5 3 PARTICULAR 
37 Hallelujah 

- 60 fr Jubilee * - 
49 fMontpelier * - - - - 

- 58 1 Melody % 

Refuge ^ - - - - 

Major. Delight b - - - - 

72 Long Particui.au. 

- 69 Ohio % - - - - ■ 
70 St. Helens 3? - - - - 

- 7 5 tOisconsolation b - - - 

66 t 'Reflection b - - - - 

- 71 Sixths and Eights. 
■ , 76 f Memphis %■ - - - 

- 65 1 Majesty * 

68 Sherburne ^ - - - - 

- 65 Tens and Elevens. 

67 Cnrtbagena 



I C; 



bummoiis 



73 
78 
70 Alcestef 

f Victory 



«: - - 

Sevens. 



>X 



Minor 



Etghts and Six. 
>X 

Eights. 
1 Scene % - - ' * - 
Fives and Sixs, 8;c. 
Tha'nkseHnac * - -. r 



68 Ganges 
80 

77 
78 
74 



fRura 



79 fMaiietta b 
69 Doxclogy 



ft 

I* 



86 
9© 
89 
88 

92 

97 
91 

94 
93 

10* 
95 

96 

98 

99 
101 
102 



If 



ms